HOIA : Scavenger

Prateek Rajagopal returns with his newest album as a solo artist titled Scavenger. The album deals with human-sentimentality concepts like nostalgia, demise, anxiety and the need to “scavenge” to survive; bubbled in fictitious concepts as individual stories. This Mumbai based artist has been playing in the Indian metal scene since 2013 and is the guitarist of Mumbai-based death metal band Gutslit. He also plays with Porcupine Tree bassist Colin Edwin and Polish-drummer Wojtek Deregowski on this EP.

Sounding at times like Pink Floyd, the five songs on this EP are just spectacular and I was amazed at how much I loved them. The vocals are well done and give a lot of feeling and depth to the songs. The musicianship is just perfection. You can hear the talent from these guys pouring from your speakers and it just gives me shivers to listen to such a bunch of great artists. Rajagopal obviously has a great talent and ear for music, especially with the beautiful production on this album. I really can’t say which song I like the best since this is an album that needs to be played all at once, not piecemeal.

Having never heard of Prateek Rajagopal’s solo career before, I can say that he has blown me away and any expectations that I had when I first opened the CD. This is a definite keeper and should be heard by as many people as possible.

https://hoiatv.bandcamp.com/album/scavenger

https://www.facebook.com/hoiatv/

DIG TWO GRAVES : Deathwish

Dig Two Graves is a progressive metalcore outfit from central New Jersey. Combining an eclectic mix of Progressive Metal, Djent, and atmospheric dream pop. Starting back in 2017, Dig Two Graves has been working tirelessly to separate them from the pack in a very crowded genre. By combing a variety of musical styles into their all too often, cliché-heavy genre, this is their debut recording.

The first song is an instrumental that starts off interesting and quiet with some samples then gets a bit irritating with the skipping sound that it takes on. The first track, “As Above” starts off nice and heavy and gets your headbanging with the power and driving force it has. The only thing I wasn’t a huge fan of was the screamed vocals, the clean vocals in the song are far better. I really liked the background to most of the songs, light and lilting music that soothes and then bang, the heaviness hits you like a kick to the groin, but the lilting music is still there in the background. Closer “So Below” is an epic song coming in at over 7 minutes and has everything in it, dream pop, progressive and metal, in your face metal. The song is a perfect end to the album with the band firing on all pistons and giving you the raw emotion and power that you expect from the previous songs. The added female vocals are a perfect addition to the track.

While not being too different sounding from track to track, the band does have potential to get a lot of fans and would probably put on one hell of a show live. While not being huge on the screamed vocals, the intensity and rawness does give this a lot of power and does make it stand out from the other bands with everything mixed up the way that they do it.

https://digtwogravesband.com/

https://www.instagram.com/digtwogravesband/

Crossover the Edge: Where Hardcore, Punk And Metal Collide: Book by Alexandros Anesiadis

Crossover The Edge contains in-depth features on over a hundred key bands from the scene’s 1980s heyday including Agnostic Front, Cro Mags, D.R.I., Corrosion of Conformity, Suicidal Tendencies, Dayglo Abortions, Discharge, Broken Bones, and another five hundred bands are also featured however briefly. Pulling together bands from diverse subcultural backgrounds (including the Skinhead, Oi and Anarcho scenes) to create a unique fusion whose appeal reached out to a large proportion of each of their fans, the movement was nevertheless overlooked by purists from each side, its specific mix sometimes balancing uncomfortably between those tribes. Alexandros Anesiadis was born in 1981 in Greece., and is currently living in Luton whilst on his final year of PhD in Media and Arts.

This lengthy, but the interesting book is well over 500 pages, has a ton of pis and is a very good read. Anesiadis is a definite fan and his writing shows that with the enthusiasm that he brings to the topic. He gets into a ton of bands that are both known and virtually unknown except for a few, but now they can get a moment in the spotlight because of this book. When I was younger and this style was happening, people hated metal if they were punks, and metal fans hated punks…that really didn’t seem to change much even with this style of music gaining fans. I liked some punk, some thrash metal and crossover…matter of fact, I got my mother to pick me up Suicidal Tendencies first, and best album, for me when she was visiting my aunt in Texas. She told me that when she went to the store to ask about it, she got some weird looks and didn’t know why…lol. The book has interviews with band members and they also throw in some interesting memories of things that happened during their careers that often times are funny, but always cool to read about. The amount of research that went into this is astounding, with all the flyers and in-depth information that he has dug up. There is a bit of looking back and coming down on some bands that had some un-PC lyrics back then, but with a different time, and different attitudes back then, it’s easy to say that they have awful lyrics and be a bit above it all now which I got that feeling while reading some of the inclusions. One thing that would have made me happy, would be album covers of the bands since there is talk of how good they were and the art on the covers. I also found that some bands mentioned by Anesiadis were as admitted by him, more metal than crossover, strange and weird, and a lot of crust and anarcho bands that were not really crossover.

If you are a fan of this style of music or have listened to any of the hundreds of bands mentioned in this book, you need to get this. While having a few minor flaws, this is still an amazing book that I had a hard time putting down and after being into punk and reading zines since the early 80s, I was astounded with how much I learned from this and now I have way too many albums to look for because of him.

https://www.cherryred.co.uk/

https://www.facebook.com/cherryredrecords

FIAT LUX: Hired History Plus 2CD Expanded Edition

This 2 CD collection brings together the entire 1980’s recorded output of synth-pop pioneers, Fiat Lux. The original Hired History album and all of the bonus tracks are appearing on CD for the very first time. Fiat Lux hail from Wakefield and were formed by Steve Wright and David Crickmore in 1982 with Ian Nelson joining soon after. The band released 5 singles for Polydor Records dating from August 1983 to January 1985. The band enjoyed minor hits with “Secrets” and “Blue Emotion.”

As a fan of synth-pop, I was a fan of this band back in the early 80s and had trouble finding their releases back then. Not very easy to find and I just gave up since even news about them was impossible to find. To my surprise, they have been collected and have finally been given the respect that they deserve…many years later. The remastering is great since Cherry Red sourced and re-mastered from the original production master tapes after months of searching tape archives and exhaustive listening sessions to trace the correct versions. So we can finally hear just how great the songs are and get them all collected here. With remixes and a couple of unreleased Bill Nelson versions, this is a great CD. Disc 1 features the band’s commercially released tracks including the band’s debut single for Cocteau Records and the five released by Polydor over the years 1982-1985. Disc Two is the lost and previously unreleased second album Ark Of Embers as the band originally intended it when it was made with producer, Hugh Jones. This album shows that the band got ripped off by the record company because it’s a great addition to the songs you already know. The CD booklet features the original album cover plus extensive sleeve notes written by band members Steve Wright and David Crickmore telling the band’s story from a unique perspective. There is also a foreword written by the producer, Hugh Jones.

A collection that I never thought would come out, but to my surprise, it’s better than I thought it would be. Great songs from a very underrated band.

https://www.facebook.com/Fiatluxofficial/

http://www.fiat-lux.co.uk/

https://www.cherryred.co.uk

https://www.facebook.com/cherryredrecords

STIFF LITTLE FINGERS: The Albums 1991-1997

This 4 CD 64 track clamshell box set covers the albums issued by Punk legends Stiff Little Fingers between 1991 and 1997. While not being the classics that they put out when they first got together, these are still strong albums that kick-ass compared to the tons of weak albums released the same time these were released.

Disc 1 is the band’s comeback studio album after breaking up for a time. It was the first to feature ex-Jam bassist Bruce Foxton. Includes the single “Beirut Moon” that was deleted since it was too provocative for the taking on of the government. It also contains great songs like “(It’s A) Long Way To Paradise (From Here),” and “Die And Burn.” A great return to form from the lads. The CD also includes “The ‘Cosh’ (Remix),” “(It’s a) Long Way to Paradise (From Here) (Demo),” and “Stand Up and Shout (Demo)” as bonus tracks. Disc 2 features the band’s yearly St. Patrick’s Day show at Glasgow’s Barrowlandsone, and this is one of the first they ever did. This is the last release to feature original guitarist Henry Cluney. With energy and gusto, they rip into their old and new songs and give the crowd what they want, a great time. Disc 3 and saw the band down to a trio of Jake Burns, Bruce Foxton and Dolphin Taylor. It includes the singles “Harp” and “Can’t Believe In You” and now comes with three unplugged versions of tracks from their early days; “Silver Lining,” “Listen,” and “Wasted Life.” The tracks “When The Stars Fall From The Sky” and “What If I Want More?” are great versions that were heard on the previous CD. CD 4 has the gritty “Tinderbox” and the ska-like tracks “You Don’t Believe In Me” and “Dust In My Eye” that I really liked too. Vocalist Jake Burns has provided liner notes covering this period in the band’s career whilst the booklet contains rare clippings and memorabilia as well as pictures of all relevant releases.

If you are a fan, this is a great continuation of the band’s output, but if you are new, get the previous collection first and then this one. This is one band that over the years has changed a bit, but are still vital and put on a great show.

https://www.facebook.com/StiffLittleFingers/

https://slf.rocks/home-base

https://www.facebook.com/CherryRedRecords/

https://www.cherryred.co.uk/

https://www.facebook.com/captainoirecords/

http://www.captainoi.com/

BREAKDANCE / BREAKDANCE 2: Original Motion Picture Soundtracks

Released in 1984, the movie Breakdance, or Breakin’, as it was named in the USA, celebrated the rise of “b-boy” culture, based around breakdancing and hip-hop. The film was a huge box office hit in the USA, grossing over $6 million on its opening weekend. The soundtrack, originally on Polydor Records, proved equally influential and successful, helping to spread the word about the development of black urban dance throughout the world. The album went on to sell over a million copies, such was its success that a sequel, Breakdance 2 Electric Boogaloo, followed, with another impressive soundtrack.

Back when this movie and soundtrack came out, I was completely involved in the synthpop scene from the UK and heard some electro that had the same sound and feel, and I was kind of interested in the music at least. I never was into the dancing at all, especially since some girls that I was talking to in a park were also being checked out by break dancers and after I got their phone numbers, the breakers came up to me and threatened me with a baseball bat. Not really going to instil any kind of love for breakdancing. Anyways, the music that I heard was “Cut It” by Re-Flex, who I was already a big fan of, and “Breakin’… There’s No Stopping Us” by Ollie and Jerry. I really enjoyed the music and ended up getting the soundtrack and thoroughly enjoying it. Of course, this also is where Ice-T got his start, with the poppy “Reckless” by Chris “The Glove” Taylor and David Storrs with rap By Ice-T. A big difference from where he eventually went with his music. With a lot of great songs, this was something that I really enjoyed and still do, regardless of the changes that happened in music since this was released. Now you know that the second one couldn’t be as good…right? Well, it’s almost as good, so there. My favourite song is “Din Daa Daa” by George Kranz, a fantastic electro track that I searched out the 12″ single for and scored. The songs didn’t get the blood pumping as much as on the first album, but they still sound great and I listen to them as much as the first album. Of course the term ” Part 2, Electric Bugaloo” is what I use whenever a part two is mentioned in conversation. The sound is flawless on this collection and the booklet has a ton of interesting information in it.

If you liked the movies or owned the soundtracks, this is a definite purchase, even if you are just curious, you need to get this set and get some lino or cardboard and start spinning on your head. Another very cool album from my youth that I thought I would never see or own.

www.cherryred.co.uk

https://www.facebook.com/cherryredrecords

ANGELIC UPSTARTS: The Albums 1983-91

After having pretty good success on their early releases, the band started to lose some traction and after the failure of the Still From The Heart album, EMI said bye-bye and they were back to the indie scene. This was a great wake up for them since Reason Why? was a terrific album that brought them back to the punk rock glory that people loved them for. “Geordies Wife” and “Dollars And Pounds” are both politically charged poetry that adds something interesting to the album. The cool part is that you get ten bonus tracks added to the original album. CD2 which again comes with ten bonus tracks, mainly rare studio demos that show the bands raw edge. Along with politically charged punk rock, you get a cool cover of Martha Reeve & the Vandellas’ “Nowhere To Run.” Next up is Live In Yugoslavia, which is basically a greatest hits collection of the band’s songs and played with vim and vigor. Disc 4 is 1985’s Power Of The Press album which now comes with the bonus single “Brighton Bomb.” The album is a little more into the new wave sound of the time but still is a great listen. Next up is the even more new wave sounding Blood On The Terraces album with an included extra seven bonus tracks. The band still has some punk, but there is a lot of sound of the times going on and some controversial titles like “Heroin is Good For You,” and a cover of Kenny Rogers and The First Edition’s “Ruby, Don’t Take Your Love To Town.” Ending with Bombed Out which saw original guitarist Mond reunited with vocalist Mensi for the first time in nearly a decade. This seemed to invigorate the band and they came back to the punk rock sound again, and the box set ends on a high note.

Although not as mandatory as the first box set, this is still a great collection of songs that sound better on this release than on the originals and will bring back memories to us old guys. The booklet features pictures of all relevant sleeves, liner notes, news clippings, and many previously unpublished photos.

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https://www.cherryred.co.uk

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http://captainoi.com/

999: The Albums 1987-2007

 

Jumping from the previous box set that covered 1977-1980, this one skips a few albums and goes right to their most up-to-date album currently. Maybe there will be another collection of the missing albums…we’ll see.

With just four albums over a twenty-year span, the band slowed their releases down a whole lot, but what we have is a great collection all the same. Starting off with the band’s first official full-length live album Lust Power And Money, recorded at the legendary Klub Foot in London, it has a track listing that reads like a Greatest Hits Live with classics such as “Emergency,” and “Homicide” played with energy and power. Disc 2 contains 1993’s You Us It!, their first studio album in eight years which saw the addition of new member Arturo Bassick, formerly of The Lurkers. The band got right back to the harder-edged sound of their younger days and it was a great return to form. Disc 3 is the Takeover album which was originally released in 1997 and is even better than their last album. A classic from start to finish with tracks that stand up to their older gems. The final disc is 2007’s Death In Soho, which keeps up the high standard of punk rock with catchy choruses and great playing that bands more than half their age would be and should be jealous of. This is a great ending to the box set but makes you yearn for more from them.

The 20-page booklet contains in-depth liner notes, pictures of all relevant sleeves plus memorabilia and clippings from the era. The sound is so good and improves on the original releases by a long shot. Although the classic period was in the previous box set, this is still a terrific collection to get and will definitely be something that you will come back to, time and time again.

https://www.facebook.com/999Music/

http://www.nineninenine.net/

https://www.facebook.com/CherryRedRecords/

https://www.cherryred.co.uk/

https://www.facebook.com/captainoirecords/

http://captainoi.com/

KILLER: Volume One, The Mausoleum Years 1981-1990

Whilst the “New Wave Of British Heavy Metal” movement of the late 1970s and early 1980s was raging just across the English Channel, Belgium was fomenting its own highly influential rock and metal scene, at the forefront was Killer. The power trio was founded in 1980 around lead guitarist and vocalist Paul Van Camp, Fat Leo on drums and Spooky on bass guitar and vocals, they released their debut album Ready For Hell on WEA Records. At the end of 1981, Fat Leo was replaced on drums by Double Bear for 1982’s Wall Of Sound album, which saw Killer making a greater impact beyond Belgium. Killer’s management formed the metal label Mausoleum Records, and Killer recorded the Shockwaves LP. The band disbanded in early 1987, with Paul Van Camp releasing his self-titled solo debut the same year. Spooky and Shorty decided to start Killer again in 1989, but with new drummer Rudy Simmons and a second guitar player, Jan Van Springel. Their fourth album, Fatal Attraction, was recorded in Germany and released by Mausoleum Records in 1990. Partly due to the growing popularity of grunge, Killer decided to call it a day in 1991. Killer would reform later in the decade, and were proud to release their seventh album, Monsters Of Rock in 2015, in time to commemorate the band’s 35th Anniversary. With great sound, bonus tracks and a great booklet telling the band’s story, this is a great release that shows the reach and influence NWOBHM had.

A band that only hardcore metal fans really know about, these guys, that are influenced by Motorhead, have left a legacy of great music that can now be enjoyed by more people. With their albums long deleted and going for some crazy prices, this is the perfect time to jump in and take a listen to what you may have not had a chance to hear before. Lots of great tracks, catchy choruses, and tight playing, this is the real deal metal. You get bonus tracks that are definitely a bonus, not just extra tracks that they tacked on because they found some crap sitting in the vaults. The bonus tracks on CD1 are “From Nine To Five,” “Too Wild To Tame,” “Crazy Circus” and “Chinese Woman.” The bonus track on CD2 is “Walls Of Hell.” The bonus tracks on CD3 are blistering live versions of “Shock Waves,” “Scarecrow,” “In The Name Of The Law” and “Kleptomania.”

I put this on, turned up the volume and this just blew me away with the raw power, the raging tunes and the actual enjoyment that came through. This is an essential purchase that will add some old-school metal to your collection and make you a believer that not only the UK had some great bands back in the early 80s.

https://www.facebook.com/groups/398215435231/

http://users.telenet.be/4-killer/

https://www.cherryred.co.uk

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THE FLESH EATERS: Continental Club Austin, TX 2/22/19

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So, the Flesh Eaters got the classic lineup back together and out on tour they went, so I obviously had to go see them. There were two other bands playing that night, Sean Wheeler and the Reluctant Messengers, and Churchwood, but I really was there for just one band…the Flesh Eaters! I was looking forward to this show since I heard they were coming to my very extended area, but some mishaps were presented to me that night.

 

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I live around an hour away from Austin, so I had to fight the traffic to get there, as expected it was crappy, but I made it to Austin. Of course, the next obstacle was to find the venue which I had never been to before. I got to the venue, saw that the parking was this ridiculous “back into the spot while blocking traffic style,” which no one would let me do, and I nearly got hit by a car trying to do it. Luckily, there was a side street close to the club and after parking on the street there, I was off to the show. Walking in, I showed my identification and the email pass that I had and of course, I was not on the list…sigh. After a bit of back and forth, I was inside! The show was on! The band blazed through old songs with the energy of guys a third of their present age, reminding me of the old days back in the 80s, which is what the club was like. They played their two new songs, “Black Temptation” and “Ghost Cave Lament” with emotion and the crowd accepted them as if they had always been part of the set. While playing on the cramped stage, the band gave a performance that was smoldering, energetic, and full of raw emotion. Playing some covers as well, especially the fantastic take on Fleetwood Mac’s “The Green Manalishi.” That song was a definite highlight. With banter from lead singer Chris Desjardins, the songs got some explanation and some fun stories about the past. According to the club’s website, they were to only play for around 45 minutes, but they played longer than that and I was in heaven. The sound was a bit off, with a lot of high-end making it a bit hard on the ears at times, but the band’s performance more than made up for that. The saxophone and marimba really gave the band such depth and added a lot to the sound. I really have to give it to Dave Alvin whose guitar playing was tremendous, with such flair and technique, drummer Bill Bateman pounding away in the back and the thick and fluid bass work by John Doe. These guys have proven through the years just how good they are at playing in their own bands and really shined in this setting.

This was a great night, despite some not so fun things that happened, but the good thing is that the band took the negatives and turned my face into a great big smile, and a memory that I will cherish. Thanks for the great night guys, and many more for the future.thumbnail (5)

https://www.flesheaters.com/

https://www.facebook.com/theFlesheaters/

http://www.yeproc.com/

http://www.facebook.com/yeproc

http://continentalclub.com/